Thyestes, Acts 1 and 2
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The Darkness of Man: a Study of Light and Dark Imagery in Seneca's
The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon A Senior Thesis in Classics The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Emily Kohut May 2016 Kohut 1 Acknowledgments I would like to give my deepest and heartfelt thanks to Colorado College’s Classics department. Thank you Owen Cramer, Sanjaya Thakur, Marcia Dobson, and Richard Buxton for all of your help, edits, and advice throughout the course of my time here at CC and especially while working on this project. Thank you to my family and friends for supporting me through this whole process and to the many others who have been involved in my time here at CC. This has been an amazing experience and I could not have done it without all of you. Thank you very much. Kohut 2 The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon Seneca’s Thyestes and Agamemnon are texts in which light rarely presents itself, instead it is dark that is present from start to finish. Throughout the course of these texts, I take note of the use and presence, or lack, of light. There appear to be two specific uses of light that serve specific purposes in Thyestes and Agamemnon: natural light (generally indicated with primarily die- or luc-1 based words), and artificial light (referenced by words related to/derived from flamma or ardeo2). Natural light is prominently used only when discussing its being consumed by darkness, while artificial light appears in passages saturated with destruction and chaos. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
Teknophagy and Tragicomedy: the Mythic Burlesques of Tereus and Thyestes
This is a repository copy of Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/126374/ Version: Accepted Version Article: Haley, M orcid.org/0000-0002-7697-3568 (2018) Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. Ramus, 47 (2). pp. 152-173. ISSN 0048-671X https://doi.org/10.1017/rmu.2018.12 © Ramus 2019. This article has been published in a revised form in Ramus: https://doi.org/10.1017/rmu.2018.12. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Ramus Submission 2017 Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes Teknophagy (τεκνοφαγία), or child-eating, is an apt subject for tragedy. -
The Medea of Euripides and Seneca: a Comparison
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1941 The Medea of Euripides and Seneca: A Comparison Mary Enrico Frisch Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Classics Commons Recommended Citation Frisch, Mary Enrico, "The Medea of Euripides and Seneca: A Comparison" (1941). Master's Theses. 180. https://ecommons.luc.edu/luc_theses/180 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1941 Mary Enrico Frisch -If.. THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON by Sister Mary Enrico Frisch, S.S.N.D. A Thesis submitted 1n partial ~ul~illment o~ the requirements ~or the degree o~ Master o~ Arts Loyola University August, 1941 TABLE OF CONTENTS CHAPTER PAGE I Introduction: Survey o~ Opinion. 1 II Broad Similarities in Moti~ and 6 Sentiment. III Broad Similarities in the Plot 30 o~ the Medea o~ Euripides and the Medea o~ Seneca. IV Parallels in Phraseology. 51 v Characters and Their Attitude 73 to the Gods. Bibliography a. Re~erences ~or the Medea 91 o~ Euripides. b. Re~erences ~or the Medea 95 o~ Seneca. c. General Works. 98 THE MEDEA OF EURIPIDES AND SENECA: A COMPARISON Chapter I INTRODUCTION: SURVEY OF OPINION It is not a new theory that Seneca used the plays o~ Eurip ides as models for his Latin tragedies, particularly his Medea, Hippolytus, Hercules Furens, Troades and the Phoenissae. -
Night (Thyestes 2.0)
This script was freely downloaded from the (re)making project, (charlesmee.org). We hope you'll consider supporting the project by making a donation so that we can keep it free. Please click here to make a donation. Night (Thyestes 2.0) by C H A R L E S L . M E E A companion piece to Day (Daphnis and Chloe 2.0). This, Thyestes 2.0 is night, Daphnis and Chloe 2.0 is day. The pieces can be done individually—or together, under the title Night and Day. A woman in a full length black evening dress comes out to a microphone that stands downstage center. She speaks into the microphone. THE WOMAN Act one, scene one. Tantalus, a mortal friend of the gods, decides to test their omniscience. He kills his own son, Pelops, chops him up and boils him, and plans to feed him to the gods as animal meat. Scene two. The gods realize the truth and are horrified; they put the pieces of the boy back together- and send Tantalus to Hades. Scene three. Tortured by thirst, Tantalus stands in water that reaches only to his chin. Food just out of his reach. Tantalized forever. Act two, scene one. Pelops grows up and falls in love with Hippodamia. But the father of Hippodamia, in order to test potential suitors, has declared that anyone who wants to marry his daughter must first beat him in a chariot race. Scene two. The crafty Pelops strikes a secret bargain with the father's personal charioteer: if the charioteer will sabotage the father's chariot, Pelops will let the charioteer sleep with Hippodamia on the wedding night. -
Iphigenia in Tauris. Translated by Anna Swanwick
rPT idZt> . 3 U.c HANDY LITERAL TRANSLATIONS. 90 VOLUMES " To one who is reading the Classics, a literal translation ts a con- ietit and legitimate help: .... and every -well-informed person itnU d th' Classics eithr.r in the original or in a translation.*' Caesar's Gallic War. The 7 Books Demosthenes' Olynthiacs, Philippics Caesar's Civil War Euripides' Alcestis, and hlectra Catullus Euripides'Bacchantes, Herc.Furens Cirero's Brutus Euripides' Hecuba, and Andromache Cicero's Defense of Roscius Euripides' I phig. In Aulis, In Tauris Cicero De Officiis Euripides' Medea Cicero On Old Age and Friendship Herodotus, Books VI and VII Cicero On Oratory Herodotus, Book VIII Cicero On the Nature of the Gads Homer's Iliad, tke 1st Six Bookt Cicero's Select Orations Homer's Odyssey, fst 12 Bookt Cicero's Select Letters. 2 rr>ts. Lucian's Select Dialogues, 2 volt. Cicero's Tusculan Disputations Lysias' Orations Cornelius Nepos, complete Plato's Apology, Crito, and Phaedo Eutropius Plato's Gorgias Horace, complete Plato's Inches (paper) Satires, eompUtt Plato's Protagoras, Euthyphroa tivenal'sivy. Books I and II Plato's Republic Uvy. Books XXI and XXII Sophocles' O7-d. Tyr. F.Iec., Antig O 'id's Metamorphoses, a voli. Thucydides, Books I-IV Phzdrjis' Fables Thucydides, Books V-VIII Plautus Captivi, and Mostelaria Xenophno's Anabasis, rst 4 Btokt Pbuius'Pseudolus; Miles Gloriosus Xenophon's Cyropaedia, 2 volumet Plant us'Trinummus.and Mensechmi Xenophon's Hqllenica, Symposium Pliny s Select Letters. 2 To/umes Xenophon's Memorabilia, compUt* Quintilian Books X and XII Roman Life in Lat. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
Aeschylusaeschylus
AeschylusAeschylus •The Life and Times of Aeschylus •Aeschylus’ Contributions to Greek Tragedy • Overview of Myth: The House of Atreus •Aeschylus’ Agamemnon AeschylusAeschylus LifeLife andand TimesTimes •after winning both the Persian Wars, the Athenians’ spirits soared •they threw themselves into the arts with unprecedented energy and confidence • tragedy was among those arts, one which received much public attention AeschylusAeschylus LifeLife andand TimesTimes •the first tragedian whose work survives is AeschylusAeschylus (ca. 525 BCE ‐ 456 BCE) • according to his tombstone, Aeschylus fought in the Persian Wars •but it does not mention his drama • according to him, then, his most important achievement in life was fighting for freedom, not writing plays AeschylusAeschylus LifeLife andand TimesTimes •Aeschylus won the Dionysia for the first time in 484 BCE •he produced his last known trilogy in 458 BCE: Oresteia (including Agamemnon) •he wrote and produced over eighty plays during his life •thus, he entered the Dionysia at least twenty times AeschylusAeschylus ContributionsContributions toto DramaDrama •but only seven of his plays have survived •most in school texts, cf. Epic of Gilgamesh • nevertheless, we can see that he was the most important playwright of his day: –he won five or more victories at the Dionysia –later playwrights often referenced and imitated—and satirized!—his work –the audiences of the next generation enjoyed revivals of his drama AeschylusAeschylus ContributionsContributions toto DramaDrama •Aeschylus introduced -
Illinois Classical Studies
8 Tragic Contaminatio in Ovid's Metamorphoses: Procne and Medea; Philomela and Iphigeneia (6. 424-674); ScyUa and Phaedra (8. 19-151)^ DAVID H. J. LARMOUR Ovid's use of tragic sources in his Metamorphoses is varied and complex. The principal sources at his disposal were the Latin adaptations of Greek plays by Livius Andronicus, Naevius, Ennius, Pacuvius and Accius and the original Greek versions of Aeschylus, Sophocles, Euripides and others. That Ovid was famiUar with, and made extensive use of, the tragic tradition is not in dispute,^ but some clarification of how he incorporated this material into the Metamorphoses seems appropriate. Basically, Ovid uses tragic sources in two ways: most frequently, he structures his own account of a particular story around the traditional tragic version—in the Phaethon (1. 747-2. 339), the Pentheus (3. 511-733) and the Hecuba (13. 399-575), for instance, the canonical Euripidean treatments form the basis of the ' Line numbers pertain to the Teubner edition of W. S. Anderson (Leipzig 1985). The following works will be cited by the author's surname only: J. N. Adams, The Latin Sexual Vocabulary (Baltimore 1982); F. P. Bomer, Ovidius Metamorphase n. Kommentar, 7 vols. (Heidelberg 1969-86); I. Cazzaniga, La saga di Itys nella tradizione letteraria e mitografica Greco-Romana, 2 vols. (MUan 1950-51); H. M. Currie, "Ovid and the Roman Stage," ANRW 11 31.4 (1981) 2701-42; B. Otis. Ovid as an Epic Poei^ (Cambridge 1970); H. Jacobson, Ovid's Heroides (Princeton 1974). ^ See Currie; G. D' Anna, "La tragedia latina arcaica nelle Metamorfosi," Alii del Convegno inlernazionale Ovidiano U (Rome 1959) 217-34; S. -
Seneca's Agamemnon: a Literary Translation with Annotations
Seneca’s Agamemnon: A Literary Translation with Annotations A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics of the College of Arts and Sciences 2017 by Jason Clay B.S. Loyola University New Orleans, 2014 Committee Chairs: Lauren Donovan Ginsberg, Ph.D. and Valeria Sergueenkova, Ph.D. Abstract This project is a literary translation of Seneca the Younger’s Agamemnon. As the only extant Latin tragedian, Seneca’s work is invaluable to the history of drama. In the past, Seneca’s tragedies were understudied, yet they are now steadily gaining critical attention following a renewed interest in Silver Latin. This project aims to fill one of the gaps that previous inattention has caused: there are not many modern translations of Seneca’s tragedies, with the exception of Fitch’s Loeb, and A.J. Boyle’s translations and commentaries on Senecan tragedies. In my translation and annotation, I hope to underscore what makes Seneca’s tragedies so fascinating and worthy of study. With regards to translation, I tried to remain close to the original Latin, but I also recognize that Seneca’s style can be a bit clunky if one tries to adhere too closely. A major component of Seneca’s style is the influence of rhetoric and declamation, including frequent alliteration and wordplay that I tried to include in my translation. I wanted to highlight the intense emotion these characters feel. These are characters who are struggling to control their heightened emotions, and I hope to catch their struggle. -
Defining Tragedy
Cambridge University Press 978-0-521-87974-3 - An Introduction to Greek Tragedy Ruth Scodel Excerpt More information 1 Defining Tragedy The very term “Greek tragedy” carries an immense weight of cultural and critical baggage. Even though the cultural prestige of the genre is often the inspiration for us to read, produce, or see these plays, this very prestige interferes with our ability to appreciate them. However, we cannot expect simply to shake off all the assumptions we have inher- ited about what a Greek tragedy is supposed to be. We would not want to, since we could not make sense of the texts at all without the scholar- ship of the past. Yet with that scholarship come inherited assumptions and expectations that distort. If we can at least identify some of these assumptions, even if we cannot see the plays in some pure, neutral way – for we will always see them or read them both through our beliefs about the ancient Greeks and about the genre, and through the con- cerns and presuppositions of our own place and time – we can at least see them more freshly. There is one basic tension in any encounter with Greek tragedy that we should not even want to escape. These plays come from an ancient culture that is in some ways very distant from our own. Yet we expect them to move us and even to help us better understand our lives. If we rush too quickly to find universal meanings, we will probably ignore or misread whatever is profoundly different. But if we read them entirely as documents from a foreign culture – a polytheistic, slaveholding, misogynistic culture – they will lose their power. -
The Subjectivity of Revenge: Senecan Drama and the Discovery of the Tragic in Kyd and Shakespeare
THE SUBJECTIVITY OF REVENGE: SENECAN DRAMA AND THE DISCOVERY OF THE TRAGIC IN KYD AND SHAKESPEARE JORDICORAL D.PHIL THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE SEPTEMBER 2001 But all the time life, always one and the same, always incomprehensibly keeping its identity, fills the universe and is renewed at every moment in innumerable combinations and metamorphoses. You are anxious about whether you will rise from the dead or not, but you have risen already - you rose from the dead when you were born and you didn't notice it. Will you feel pain? Do the tissues feel their disintegration? In other words, what will happen to your consciousness. But what is consciousness? Let's see. To try consciously to go to sleep is a sure way of having insomnia, to try to be conscious of one's own digestion is a sure way to upset the stomach. Consciousness is a poison when we apply it to ourselves. Consciousness is a beam of light directed outwards, it lights up the way ahead of us so that we do not trip up. It's like the head-lamps on a railway engine - if you turned the beam inwards there would be a catastrophe. 'So what will happen to your consciousness? Your consciousness, yours, not anybody else's. Well, what are you? That's the crux of the matter. Let's try to find out. What is it about you that you have always known as yourself? What are you conscious of in yourself? Your kidneys? Your liver? Your blood vessels? - No.